Writer-director Chinmoy Sarmah has remarkably excelled in his craft since his first film, and this growth is clearly visible in his latest Assamese feature, BhakutKut, which released in Assam on March 6, 2026.
BhakutKut is a comedy rooted in the simplicity of rural life—exploring love, family, and friendships. Although the film can be described as a good entertainer in two words, it is not without its fair share of problems.
The film opens with Mridul (Mridul Chutia), an ex-serviceman who has returned to his native village with his family from Bangalore. Soon we are introduced to Mridul’s elder sister (Pratibha Choudhury), and the central challenge facing the family gradually becomes clear: arranging a suitable marriage for her son, Indu (Kaushik Nath).
But there’s a catch. Indu lives life on his own terms and has an unusual fascination with cattle rearing. To make matters more interesting, a prime plot of land in town—worth several crores—is offered as a reward to anyone who can find a suitable bride for him.
With the offer extended to the entire village, the film explores human nature and vested interests, exposing greed and the darker side of seemingly fair-minded people.
While the story occasionally evokes shades of Priyadarshan’s comedic style, the execution in BhakutKut takes a different route. The promise of the prized land drives the plot and creates an intriguing dilemma for the character played by Dip Jyoti Kakati. Still seemingly under the shadow of his role in Before Spring (2023), his character here is a financially struggling man staring at bankruptcy. The land appears as a golden opportunity to resolve his growing debts.
This is why he considers marrying his daughter, Radhika (Darathie Bharadwaj), to Indu—a plan further encouraged by Mridul and his wife, who promise to share the property with him.
Meanwhile, Radhika is in love with Dhiraj (Monuj Borkotoky), who hopes to marry her once he achieves financial stability. Enter Piku (Himangshu Prasad Das), a talkative relative and another hopeful claimant to the land. He spreads the rumour that Radhika and Dhiraj are conspiring to arrange her marriage with Indu for their own selfish gain.
Amid all this, the narrative introduces several additional threads: a financial scam subplot that leads nowhere, a land broker with a Lower Assam accent, Dhiraj’s friends pursuing Mridul’s daughters—Priyanka (Priyanka Borthakur) and Priyakshi (Kabyashree Hazarika)—and Dhiraj’s younger brother delaying his own romance because his elder sibling is yet to marry. There is also Rubul (Parag Baruah), a friend who harbours a soft corner for Radhika, along with a brief appearance by Moonmi Phookan.
Quite a lot, isn’t it?
This tangled web eventually becomes the film’s biggest challenge. By the time the story reaches its conclusion, many developments feel rushed and somewhat illogical, as if the writer-director simply hurried toward the finish line.
However, if one overlooks the ending, the film remains a fairly engaging entertainer. Its steady pacing complements the feel-good and offbeat comic tone. On a broader level, it also offers a refreshing break from the heavy political themes that have dominated recent Assamese films such as Agnibaan and Khaki.
A major reason why BhakutKut works is its rural setting and characters. Much of the humour arises organically from everyday situations, making the narrative relatable. This relatability helps viewers connect with the characters, each of whom brings their own quirks to the story.
It is also rare to see such a large ensemble cast effectively utilized in Assamese cinema, which is often associated with minimalistic storytelling. In this respect, BhakutKut joins films like Casetu Nagen and Bhaimon Da in featuring a broad range of characters.
However, managing so many roles comes with its own difficulties. One notable shortcoming is the underutilization of senior actor Pranjal Saikia. Despite having adequate screen time, his character ultimately fails to matter within the narrative. He simply exists in a story that never truly needs him.
Similarly, certain scenes feel unnecessary. In one sequence, Indu detects that a cow is ill simply by smelling its dung. While mildly amusing, the scene ultimately leads nowhere. If the intention was merely to showcase Indu’s expertise with cattle, it could have been integrated into existing scenes where cows were already discussed.
On the positive side, several scenes feature layered interactions that sustain the humour and maintain audience interest. In many moments, a character is clearly lying, yet the humour emerges not from the absurdity of the lie but from how convincingly it is delivered. In this regard, Parag Baruah’s performance as Rubul deserves special mention.
Shot in and around the town and villages of Tezpur, the film captures a vibrant rural environment. Director Chinmoy Sarmah makes effective use of diverse landscapes, though the riverbank becomes the most recurring location. Characters visit it when sad, when someone leaves home, and even when a wedding takes place.
At one point, I found myself wondering what the director would have done if Assam had no riverbanks.
Beyond such musings, other questions arise. Why is Mridul written as an ex-serviceman? Would the story have changed if he were a businessman instead? Curiously, the ambiguity surrounding his motives—whether he truly wishes to help his nephew or is simply chasing the land—ends up working in the film’s favour.
The film also briefly attempts to address mental health and the stigma surrounding it, though this subplot feels rushed. Actor Durgashri Borah appears in a special role, hinting at a charming potential love story with Indu that unfortunately never develops fully.
The film’s dialogues, however, are sharp and witty. Several lines stand out as memorable one-liners, including: “Indu Jabo Sapori, Dhirajor Lagibo Lottery.”
Among the cast, Kaushik Nath emerges as the standout performer. His slightly awkward, rumpled everyman persona suits Indu perfectly. Monuj Borkotoky portrays Dhiraj as both confident and vulnerable, especially when confronted with Radhika’s unexpected decision to marry Indu.
Darathie Bharadwaj effectively conveys Radhika’s frustration—not with poverty, but with the social limitations that force her to depend on others. Her decision to seize the opportunity presented to her reflects that inner conflict.
Among the supporting cast, Priyanka Borthakur shows promise but receives limited scope. Bhargav K. Borah performs well as a friend-turned-foe, while Himangshu Prasad Das’s character Piku is somewhat villainized without sufficient context.
In conclusion, BhakutKut attempts to balance humour with an examination of human greed. However, the narrative occasionally becomes overwhelmed by the sheer number of characters it introduces. Despite these flaws, the film’s entertaining moments and relatable rural charm make it a fairly enjoyable watch.
Produced by Jayshree Bhuyan—who also appears in the film—BhakutKut was released across approximately 52 cinema halls in Assam.